Rhapsody Of Fire? Who the hell are they? Well, Italian epic metal frontrunners Rhapsody had to add the “Of Fire”
to their moniker due to a long lasting legal battle in regards to their original name. Now the main question is more
important: Would all of the hassle of the last years reflect onto the band’s unique metal sound?!

For “Triumph or Agony” the band, unfortunately, didn’t add the anger built up inside over the name change, nor did it affect the band’s signature musical opinion in any other way. Thus we are left with an album we have heard before, penned by the same quintet. To me,
it is rather disappointing to hear the band stuck in the same position without willing to add some
spice to life.

Rhapsody Of Fire still blend their Teutonic power metal with epic movie score-like orchestrations, a
blend that made these Italians famous in the first place. And they still do it like no other band
can. However, it is in the upbeat passages that the metal battlers truly start to
shine.

The main course of the album is heavily orchestrated and nearly angelic metal, yet it hardly ever comes to
life nor does it punch you in the head to awaken you. The opening is grand and
epic, with a spoken storyline that builds up tension toward the raging title
track, where the pedal really goes down for the first time. The dramatic orchestrated midsection takes away the pace slightly, which also happens during the following “Heart of the
Darklands.” Thus far it is arms wide open for fans of melodic metal. From then on, it all
starts to crumble.

The fast pace is taken out, only to re-appear occasionally
and then to fade away pretty soon after. The remaining tracks are packed with piano and keyboard-driven.
They are slow movers with loud and pompous choirs and tightly woven guitars and keyboard arrangements. Minstrels and flutes drop by to empower the baroque
arrangements all of which color the landscape of the dark and roaring medieval times. In that they succeed brilliantly. But
"Triumph or Agony" also starts to lose your attention. “Il canto Del Vento”
had me slowly fading off to dreamland. If it wasn’t for its classically sung section, I would still be asleep right now.

The wake up call comes with the wonderful and amazing power metal hymn “Silent Dream” which breaks lose from the typical pattern of arrangements and leans more
toward classical US power metal and even NWOBHM! That, inflicted by this fine
tune's feeling for drama, expression and epic arrangements, creates a unique
track which instantly captures your attention as we stroll onwards to the band's 16-minute track that
follows. Again we have to struggle through two ballads before we are introduced to “The Mystic Prophecy Of The Demon
Knight.” Indeed, "Demon Knight" has a new tale to tell. The song reflects best the abilities of Turilli, Lione and Staropli and their
"interchangeable" metal companions. It is packed with drama and theatrical elements well
molded into a story which could fill a complete album. Though it is broken by
interludes and features some lingering moments, (such as the storyboard interludes and more thematically choirs and
orchestrations), the whole saga and its theme are very well arranged. It perfectly states what can be expected from the
Italian rockers. The album ends with “Dark Reign of Fire” which is packed with
loud and pompous opera elements and chants. Again, it dies out lingering and in drama, but most likely with a reason.

Unlike Kamelot, for instance, Rhapsody of Fire rarely explodes or unleashes their fury, which they
buildup toward with a lot of tension and drama. All is perfectly produced and
presented with exceptional musical craftsmanship, but it tends to die out on you
as you listen through the album. The louder and more metallic tracks keep you
focused and make you drawl for more. The rest, unfortunately, is like a flame dying
out.

Devoted fans of the band will most likely love this record,
much like they devoured its predecessors, but I’m afraid "Triumph or
Agony" won’t attract many more new fans.